Case Number 22419

GENEVIEVE

The Charge

"You think that old crock's packed it in for good?"

Opening Statement

I'd never heard of Genevieve before. However, reading on the DVD box
about the awards -- a BAFTA, a Golden Globe, and an Oscar nomination -- that the
1953 British comedy received, it came with high expectations. The box touts it
as a "madcap motoring movie" and a "simply delightful romp"
beloved in England. It's part of VCI's tribute to the J. Arthur Rank
Organization.

Facts of the Case

Alan McKim (John Gregson, The Lavender Hill Mob) is married to Wendy
(Dinah Sheridan, Calling Paul Temple), but pays a lot more attention to
Genevieve. Wendy's rival isn't another woman but a 1904 two-seater with a hand
crank that Alan drives every year in the London-to-Brighton road rally, with
Wendy reluctantly along for the ride. During what appears to be their worst trip
ever -- thanks to breakdowns, marital misunderstandings, and a regrettable
change of hotels -- Alan makes a bet with his friend Ambrose (Kenneth More,
Father Brown) over who will get back to London first.

The Evidence

In the making-of documentary, Dinah Sheridan notes that John Gregson just
didn't have that much of a spark as a romantic lead. In Genevieve, that
proves to be an asset. He's playing a genial but distracted husband entranced by
his beloved car, and Gregson is every bit the dedicated tinkerer. He's pleasant
enough to make you root for Alan -- and Genevieve. Sheridan holds up her end as
long-suffering wife Wendy -- often angry at Alan but still very much in love
with him. Even as she's ready to beg off the rally, she's perhaps more prepared
to ride out the breakdowns and hassles of the road than Alan is.

The plot, ostensibly, is about the rivalry between Alan and Ambrose, with
their various misfortunes and dirty tricks providing gags. However, the rivalry
doesn't seem all that heated; Alan and Ambrose come across as friends despite
the trickery and insults. Genevieve's real turning point is when Wendy
realizes she has as much affection for Genevieve as Alan does; this might also
be the turning point in their marriage.

Kenneth More's Ambrose is the cocky hare in the tortoise-versus-hare road
race, often taunting his rival and even stopping for R-and-R with his girlfriend
and traveling companion Rosalind (Kay Kendall, Les Girls) in his
overconfidence. He's also the hare in the romantic story, since he once dated --
and lost -- Wendy.

The color picture still shows off the British motorways and landscape well.
The making-of explains how director Henry Cornelius went to great lengths to
avoid process shots and other studio work, even using mockup cars mounted on the
backs of trucks. A few of those mockup car shots are obvious, but the movie
otherwise looks good. The harmonica compositions by Larry Adler come across
well, playing up the slapstick and setting a nostalgic tone.

The making-of, A Profile of Genevieve, plays up the movie as a
phenomenon in British culture while providing plenty of detail on its
production. It also lets viewers know that Genevieve is still running and can be
seen in a museum in Holland. There's also a photo gallery, set to music,
featuring posters and publicity stills.

The Rebuttal Witnesses

Some of the gags in Genevieve, particularly in the opening scenes,
fall flat. Watching Dinah Sheridan fumble groceries as she tries to find her
keys or John Gregson somehow break a window while brushing his teeth just
doesn't inspire that much laughter. After the first few misfires, though, just
about everything at least made me smile.

The making-of notes that J. Arthur Rank initially was disappointed with
Genevieve when he saw it, but audiences in the cinemas did laugh out
loud; it's quite possible that some of the milder gags play much better when
you've got a crowd around. There's nothing objectionable, so it could be a good
choice for a family movie night.

Closing Statement

I'd have to call Genevieve a tortoise of a movie, in the best possible
sense. It chugs along with determination, like Genevieve and her driver,
gradually building up gags and goodwill until the final scene that'll send the
audience away happy.